Nowadays these quarters offer the cheapest labour to the construction industry and other dangerous work. These workers have no insurance, no contract, and no any kind of welfare-service. They receive their daily payment in cash.

You already saw the cathedral, the skeleton of the destroyed old one reaches a hand to the modern new one. The Christchurch was never restored, but the spire is still there. And this is the Holy Trinity…

It’s not like a poem reciting event with background projection and music. For me, all these forms are equal and juxtaposed, I’m creating a “living text body” from their mixture. – Kinga Tóth is preparing for her performance show in the Trafó.

The storyteller is „simply” a girl, or more likely a bitter and disillusioned woman, who is remembering her youth years. And there is (naturally?) a man, addressed in this second person singular story…

“I want to show a character who is going through really difficult trials but tries to find the beauty in the chaos. That’s sometimes the best you can do, but it’s always better than giving up.” An interview with Adam Silvera.

“I found it fantastic that every organ is different, you can hear completely new sounds, hundreds of years of music is awaken, and there are all these historical organs, still working today, all around the world…”

After years of hard work, practice, success in closer circles, many musicians really deserve national recognition and money. And there are some people who win even more in a talent show… Just like these three musicians.

Following its highly successful premiere in Munich, Pathos Theater, the Bavarian capital’s largest independent company will bring their experimental Faust performance to CAFe Budapest Contemporary Arts Festival audiences.

Theater

Following its highly successful premiere in Munich, Pathos Theater, the Bavarian capital’s largest independent company will bring their experimental Faust performance to CAFe Budapest Contemporary Arts Festival audiences.

“This is something like an open world simulation game where the movements of the audience – or more like participants – influence the story.” Interview with Ambrus Ivanyos about how to disappear completely…

“I did not attempt to slip the smallest personal attention, or added message, into an already perfect work; rather, I sought to listen to the score scrupulously (and lovingly), read the libretto and translate…” Maurice Béjart on staging The Magic Flute.

“Living in the same village doesn’t mean us to hang out together around the clock. Rehearsing gives us good vibes, can’t be put into words how it feels to resonate, crying, grieving, laughing together, engulfed with sympathy comforting each other.” Renáta Báder and Fruzsina Háda speak about Live long, Regina!, an improvisational docudrama by the group SajátSzínház.

The performance inspires you to meditate on the different essential archetypical ideas of life – that are recognizable in the Tarot cards – about their relations and their presence in your life or in your actual life situation.

It’s not like a poem reciting event with background projection and music. For me, all these forms are equal and juxtaposed, I’m creating a “living text body” from their mixture. – Kinga Tóth is preparing for her performance show in the Trafó.

“I have a recurring dream where I’m roaming around in a house. I always discover new rooms, but somehow I am already aware of them before going in for the first time…” – Choreographer Andrea Mészöly reveals how the dream became a dance show on stage.

All three works contain references to moments in Wilhelmine’s life: the self-sacrificing, loving sister, the hysterical arguments between her parents, the tyrannical father forcing his daughter to marry, who even condemns his own son to death.

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